“Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.”

— Pauline Kael

"Le Mystère Picasso," p. 511.
5001 Nights at the Movies (1982)

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Pauline Kael 72

American film critic 1919–2001

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“Our only means of original manifestation is to vomit these old masterpieces. Masterful spittle is our only opportunity to create within the Cinema our masterpieces. That's what Picasso stands for. He is a creator of deglutition and spittle, of old well-digested canvases.”

Isidore Isou (1925–2007) Romanian-born French poet, film critic and visual artist

Venom and Eternity (1951), Danielle's Monologue

“Imitation of the art of earlier centuries, as that done by Picasso and Modigliani, is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 138, "Criticism and Its Premises"

“Picasso.... the master.... being a master: 'I don't search, I find' [a famous quote of Picasso, where he criticize the 'searching' artists].. the master, the mastery.... Producing, producing... He [Picasso! ] only knows how to work, can’t do anything else. What lost souls!... The great risk is producing for its own sake. You must never force things. You just have to wait.”

Bram van Velde (1895–1981) Dutch painter

31 October 1966; p. 59
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

“For the late twentieth-century museum director there is no more certain prospect for audience acclaim and sponsor success than those Impressionist and Post-impressionist artists who were so reviled a century earlier”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

“It’s almost like Picasso in that he mastered so many different genres.”

Gary Ross (1956) American film director

Response after being asked if he had a favorite director in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/
Context: I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick.

“It is the function of the artist to evoke the experience of surprised recognition: to show the viewer what he knows but does not know that he knows. Helnwein is a master of surprised recognition.”

Gottfried Helnwein (1948) Austrian photographer and painter

William S. Burroughs, Helnwein's Work http://www.helnwein.com/texte/selected_authors/artikel_103.html, Lawrence, Kansas, 1990

“Zeno is one of the comic masterpieces of the century; as Svevo had previously used Flaubert more intelligently than any Italian before him, here he uses Freud in a way that no Italian has done since.”

Italo Svevo (1861–1928) Italian writer

Martin Seymour-Smith Guide to Modern World Literature (London: Hodder and Stoughton, 1975) vol. 3, p. 23.
Criticism

“Art is in itself noble; that is why the artist has no fear of what is common. This, indeed, is already ennobled when he takes it up.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Die Kunst an und für sich selbst ist edel; deßhalb fürchtet sich der Künstler nicht vor dem Gemeinen. Ja indem er es aufnimmt, ist es schon geadelt, und so sehen wir die größten Künstler mit Kühnheit ihr Majestätsrecht ausüben.
Maxim 61, trans. Stopp
Maxims and Reflections (1833)

“Putting a shovel in a gallery or museum signified “this shovel has become art.” And it actually was. The action itself is art, because the artist projects himself in choosing the shovel, and especially in placing it out of context. It is art in the sense that the imprint of a hand in a cave is art, the Mona Lisa is art, a happening is art, etc. It is a problem that touches on the ethics and function of the artist: he assumes the right to have this supra-human calling that allows him to say to others, “everything that I touch with my hand is transformed into art.” The artist imposes his anguish, his vision of the world, and himself on others. The artist emasculates the observer. Maybe he thinks that the latter deserves no better… The artist assumes the right to show you what you can see for yourself, what you could obviously see much more clearly without his intervention. I contest this right.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66-67

“A museum that really wants to promote modern art might give the artist a guaranty, on certain conditions, so that he can get on with his life and his creations. Or do you believe that the museum is more interested in the artist's death, in order to see the price of his paintings go up?”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 45 : in a letter (11 November 1940) to Käthe Steinitz, sent from the internment camp on Isle of Man, England.

“Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.”

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Pauline Kael 72

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